No Trifling With Love, a new adaptation by Frank Canino of Alfred de Musset's 19th Century French play, was produced and directed by Adrienne Wintermans, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Dorothy Somerset Studio Theatre, from November 20 to 23rd, 1968. The following is a detailed record of that production, together with the director's analysis and interpretation of the script. No Trifling With Love was performed by a predominantly student cast, in costumes and setting designed by Michelle Bjornson, with choreography by Richard Blackhurst and with original music composed and arranged by Jim Colby and played by three musicians employing flute, piano, guitar and percussion instruments. This record is divided into three main sections. The first is an essay in five parts, consisting respectively of: the biographical and historical background of the playwright and the play; the literary influences found in On ne badine pas avec l'amour; a comparison of the adaptation used for this production with previous translations of the play; an analysis of No Trifling With Love in this adaptation; and finally a short section setting forth as simply as possible, the specific directorial concept used for this production. The essay is followed by a short bibliography which is not intended as a complete list of the works on or by de Musset, but gives an indication of those which were taken into consideration during the preparation of this production. The second section is made up of the prompt script of the production, showing the division of the play into units, blocking, and music, lighting and scenery cues. The script is followed by a unit by unit analysis of each scene, briefly discussing the directorial approach taken in terms of purpose, action, motivation, dominant emotions, character dominance and particular difficulties involved. The third section is made up of various tables, records and illustrations relating directly to the production. Included are lists of light cues, set changes, property and costume lists, cost lists and box office reports. Also included are transcripts of the music composed for the production samples of the programme and copies of the press reviews. The illustrations include colour photographs of the production, renderings of the sets, costumes and projections, and finally blue-prints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

L’écoute aux portes est un élément du théâtre français qui n’a pas souvent retenu l’attention de la critique, qui tend à le concidérer comme un simple subterfuge utile au développement et à la résolution de l’intrigue. Ce mémoire cherchera donc à combler ce manque d’attention, en portant sur l’intérêt scénique particulier que représente l’écoute aux portes dans Tartuffe de Molière, Le Jeu de l’amour et du hasard ainsi que Les Fausses Confidences de Marivaux et On ne badine pas avec l’amour de Musset. Après avoir défini ce que l’on entend par le terme « écoute aux portes », nous nous demanderons qui écoute, dans quels lieux, ce qui motive les curieux et si l’on peut voir dans l’écoute aux portes autre chose plus qu’un simple subterfuge, qu’une simple excuse qui permet aux « oreilles indiscrètes » de partager ce qui normalement leur serait resté inconnu.